The Standings → Claude Haiku 5.5 (medium)
Anthropic
medium reasoning effort · via Claude CLI · judged by Claude Sonnet 5 · not the setting shown on the standings; also run at xhigh74.7 high70.8 low60.5
Results from run ‘first’: ten items, ten verdicts.
Claude Haiku 5.5 (medium) scores 68 on craft, 5 points above the field’s 63 and 25 points short of the authors themselves. Its shape differs from the field’s: relatively strong on restraint and period detail, relatively weak on folding the brief into the story and building scenes. On the mechanical checks it kept to the brief’s word range on 6 of 10 items and is unusually free of stock phrases.
The record: 10 items · 10 verdicts · 0 errors · 2,143 words on average · est. generation cost $0.05
Eight dimensions, each 0–100, averaged over ten items; the author’s real chapter was in the room every time.
Craft by dimension, 0–100 · judged by Sonnet 5 beside the author’s real chapter
The authors themselves average 93 on the five writing dimensions, the field 63, this model 68. Hover or focus a bar for the field and the authors on that dimension.
The judge’s one-sentence best quality and worst flaw for each chapter, written for a general reader.
Best The moment on the moor is physically convincing — Mary shivering and quietly hiding it so no one will see — which makes her seem like a real frightened child rather than a plot function.
Worst Some of the interior narration reads a touch too knowing and modern for 1911, as when Craven's look is compared to someone finding a delivered parcel has arrived.
Best The return to the dance hall to find Georgette waiting is warm and specific, and her flat correction of her own name at the close is a lovely small character beat.
Worst At the very end Jake comes right out and names his jealousy and his love in plain words, which spells out the feeling instead of letting the reader catch it the way the rest of the chapter does.
Best The job interview scene, where a feather from Eve's hat drifts onto the prim secretary's papers, is sharp, funny, and true to both characters.
Worst The chapter ends with Psmith's friend Mike still sitting right there in the room, so the quiet, private moment the story needed doesn't quite happen, and Psmith barely uses his trademark habit of calling people 'Comrade,' so he sounds a little less like himself.
Best The dinner scene builds nicely to the moment Anne finally speaks up, and her sister's unexpected support feels like a small, believable surprise.
Worst At one point it's unclear whether Anne is actually in the room during the big scene with Mr Shepherd, since the text first has her walking away up to her room and then has her watching her father's face as if she'd been there the whole time, which is confusing.
Best The ending is quietly unsettling, with the hint that the buried object might be stirring, which pulls you toward the next chapter.
Worst Partway through, Ogilvy calls the narrator 'Henderson,' a name that was never established for him, which is a confusing continuity slip.
Best The swimming scene and the closing image of the sea as 'calm, or only waiting for the wind to change' give the chapter a clean, resonant emotional thread.
Worst The chapter skips the actual moment Robert says something to Adèle during the walk — it tells us Edna couldn't hear it and only reports it secondhand later, so the required scene is talked about rather than shown.
Best The letter-and-packet sequence is clean and well-paced, and the final image of the empty back door left on the latch for a girl who hasn't come home is quietly effective.
Worst It accidentally breaks the story's own logic by having Betteredge say the trance-boy actually spoke the word 'Moonstone,' when in the source material the boy only ever says 'It' and nobody has named the diamond yet.
Best Thaler's threat arrives on brown stationery that echoes the three shades of brown he was wearing when the narrator saw him, a neat, understated way to make his presence felt without putting him on the page.
Worst The bank teller describes the check as made out to bearer even though he also says it was never presented or even seen at any window, which does not quite add up logically.
Best Poirot's teasing refusal to explain his clue ('like a cook who serves the soup before it has boiled') feels true to character and lands a nice bit of humor.
Worst The exciting discovery at the end gets tucked into Poirot's pocket instead of being shown clearly, so the big closing moment doesn't land with the visual punch it should.
Best The dinner scene has a real warmth to it, especially Seward's quiet, honest admission that losing Lucy barely stung as much as he expected.
Worst The closing telegram comes right out and says Jonathan isn't coming home, which spells out the dread instead of letting the reader feel it creep up on them.
Headline, compliance and craft for each chapter, 0–100.
| Item | Headline | Compliance | Craft | Words |
|---|---|---|---|---|
| The Secret Garden item 013 · after ch. 2 · Frances Hodgson Burnett | 82.4 | 100 | 82 | 2,170 |
| The Sun Also Rises item 021 · after ch. 3 · Ernest Hemingway | 77.1 | 100 | 77 | 1,858 |
| Leave It to Psmith item 022 · after ch. 3 · P. G. Wodehouse | 71.3 | 90 | 79 | 2,519 |
| Persuasion item 001 · after ch. 1 · Jane Austen | 66.3 | 95 | 70 | 2,845 |
| The War of the Worlds item 006 · after ch. 1 · H. G. Wells | 64.0 | 95 | 67 | 2,229 |
| The Awakening item 016 · after ch. 7 · Kate Chopin | 62.1 | 95 | 65 | 1,411 |
| The Moonstone item 011 · after ch. 8 · Wilkie Collins | 57.7 | 90 | 64 | 2,883 |
| Red Harvest item 023 · after ch. 2 · Dashiell Hammett | 56.3 | 95 | 59 | 1,768 |
| The Mysterious Affair at Styles item 017 · after ch. 3 · Agatha Christie | 53.9 | 95 | 57 | 2,125 |
| Dracula item 015 · after ch. 5 · Bram Stoker | 51.8 | 85 | 61 | 1,621 |
Words written per item, against each brief’s maximum.
Word count per item vs. brief maximum · run ‘first’
Six of ten items landed inside their brief’s word range. Persuasion and The Moonstone ran over by 245 and 83 words respectively.
Each verdict names the chapter’s single worst flaw, with evidence. Quoted verbatim from run ‘first’.
The chapter ends with Psmith's friend Mike still sitting right there in the room, so the quiet, private moment the story needed doesn't quite happen, and Psmith barely uses his trademark habit of calling people 'Comrade,' so he sounds a little less like himself.
At one point it's unclear whether Anne is actually in the room during the big scene with Mr Shepherd, since the text first has her walking away up to her room and then has her watching her father's face as if she'd been there the whole time, which is confusing.
It accidentally breaks the story's own logic by having Betteredge say the trance-boy actually spoke the word 'Moonstone,' when in the source material the boy only ever says 'It' and nobody has named the diamond yet.
The chapter skips the actual moment Robert says something to Adèle during the walk — it tells us Edna couldn't hear it and only reports it secondhand later, so the required scene is talked about rather than shown.
Automated screening results across the ten outputs.